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"Thai Suite," with Analysis Sarinda Soponpong

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University of Northern Colorado Scholarship & Creative Works @ Digital UNC Theses Student Research 5-1-2012 "Thai Suite," With Analysis Sarinda Soponpong Follow this and additional works at: http://digscholarship.unco.edu/theses Recommended Citation Soponpong, Sarinda, ""Thai Suite," With Analysis" (2012). Theses. Paper 21. This Text is brought to you for free and open access by the Student Research at Scholarship & Creative Works @ Digital UNC. It has been accepted for inclusion in Theses by an authorized administrator of Scholarship & Creative Works @ Digital UNC. For more information, please contact [email protected]. © 2012 Sarinda Soponpong ALL RIGHTS RESERVED UNIVERSITY OF NORTHERN COLORADO Greeley, Colorado The Graduate School THAI SUITE A Composition with Analysis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Music Sarinda Soponpong College of Performing Arts School of Music Music Theory and Composition May, 2012 This Thesis by: Sarinda Soponpong Entitled: “Thai Suite,” with Analysis has been approved as meeting the requirement for the Degree of Master of Music in college of Performing and Visual Arts in School of Music, Program of Music Theory and Composition Accepted by the *Thesis Committee: Paul Elwood, Ph.D., Chair Robert Ehle, Ph.D., Committee Member Accepted by the Graduate School Linda L. Black, Ed.D., LPC Acting Dean of the Graduate School and International Admissions iii ABSTRACT Soponpong, Sarinda. “Thai Suite,” with Analysis. Unpublished Master of Music Thesis, University of Northern Colorado, 2012 Thai traditional music can be separated into four major styles as based on each region of Thailand. Although the music is pentatonic (anhemitonic), each style differs in sonority, rhythm, and melody. Western art music, especially the music of the 20th century, employs a wide range of compositional techniques that can be utilized with traditional Thai music to create new sounds. This thesis composition, “Thai Suite,” in four- movements for wind ensemble, with analysis, demonstrates how traditional Thai music can be integrated into contemporary Western compositional practices through the medium of the modern wind ensemble. iv TABLE OF CONTENTS CHAPTER 1: INTRODUCTION AND HISTORY 1 CHAPTER 2: METHODOLOGY 15 CHAPTER 3: ANALYSIS 16 CHAPTER 4: CONCLUSION 37 BIBLIOGRAPHY 38 1 CHAPTER 1 INTRODUCTION AND HISTORY Figure 1: Map of Thailand1 1 LJ Biz Co.,Ltd. Travel service, “ Thailand Travel,” http://www.lets-tour-bangkok.com (2012), accessed 20 January 2012. 2 The kingdom of Thailand was established in 1249, although people have lived along the river in Siam since 555.2 The people forged the traditions that have become the Thai culture of today.3 Thailand is approximately 513,000 km2, in the shape of an axe, and is in Southeast Asia, bordering Laos, Malaysia, Burma, and Cambodia.4 There are six geographical regions dividing Thailand including the Northern, Middle, Northeastern, Western, Eastern, and the Southern regions.5 This thesis concerns the musical traditions of the Northern, Northeastern, Middle, and Southern region, as those of Western and Eastern do not have musical traditions that are as distinctive as aforementioned four regions. The Northern region is mountainous and spans 170,000 km2 (see figure 1).6 It was the administrative area of the historic Lanna Kingdom (อาณาจักรล้านนา, Anajak Laanna). Laanna means “the land with a large field;” and is always followed by “Laanchang” (อาณาจักรล้านช้าง, Lan Xang), 2 Moonsilp, Wutthichai, ประวัติศาสตร์ชาติไทย (History of Thailand) (Bangkok, Thailand: National Library, 2007), 3. 3 Tourism Authority of Thailand, “History and Tradition,” http://thai.tourismthailand.org/about-thailand/ (2011), accessed 17 January 2012. 4 Tourism Authority of Thailand, “Geography,” http://thai.tourismthailand.org/about-thailand/ (2011), accessed 17 January 2012. 5 Ibid. 6 M.R. Abhakorn, Rujaya and Tassanee Srimongkol, ภูมนิทัศน์ไทย (Thai Cultural Landscape): Cultural Landscape of the Northern Region of Thailand (Bangkok, Thailand: Darnsutakarnpim Inc., 1996), 2. 3 meaning “the land with many elephants”. The traditions of the Laanna people, including food, dance, music, and clothing, do not belong solely to the Laanna culture, but are derived from several tribes that ultimately combined to form the Laanna kingdom.7 Laana’s folk music is quite popular. One of its principal styles is “Saw,”8 a singing tradition since 1292.9 The popular ensemble, called “Salor Saw Seaung”, involves two instruments, Sa- lor, Se-ung, and one singer. The Sa-lor is a bowed instrument that resembles the “Er hu,” a bowed Chinese instrument that is also bowed.10 The Se-ung is a guitar-like plucked instrument, resembling the shape of a banjo with four strings.11 Moreover, Laanna folk music also has another kind of ensemble called the “Folk Pi Paat” (pee-pat). This ensemble differs from the Sa-lor Saw Se-ung ensemble as it employs percussion and double-reed wind instruments.12 7 Assoc. Prof. Dr. Sumrongthong, Bussakorn, รายงานวิจัยฉบับสมบูรณ์ โครงการพิธีกรรมและความเชื่อที่เกี่ยวข้องกับการสืบทอดดนตรล้านนา (The Rites and Beliefs Associated with the Transmission of Musical Culture in Thailand’s Lanna Region) (Ph.D. Dissertation, Thailand Research Fund, 2009), 11. 8 Ibid, p.17. 9 Ibid, p.18. 10 Ibid, p.22. 11 Ibid, p.23. 12 Ibid, p.31. 4 Figure 2: Sa-lor13 Figure 3: Se-ung14 Percussion instruments are important to the lifestyle of the Laanna people. Historically, drums have served several roles, including indicating 13 Poonsuk Lukkatuktiyakul, “Salor,” http://www.ironeaglecm.com (2009), accessed 20 January 2012. 14 Sahavicha, “Seung,” http://www.sahavicha.com/UserFiles/Image/Untitled-3.gif (2012), accessed 20 January 2012. 5 time of day, signaling calls for worship, and were used throughout festivals. Drums would also send orders for troops in battle.15 The performing techniques, instruments, and function of Laana’s music developed over the centuries. In reverence for these established styles, many people are actively trying to preserve this music by sharing the unique Laana sonority.16 The Northeastern part of Thailand is the largest region of the country and spans 168,854 km2 (see figure 1). The Northern music is similar to the Northeastern style due to their close proximity. Similarly, the Northeastern music is akin to Laos’ music and has unique traditions. The folk music of Laos and the Northeastern region use rhythms and minor mode melodies unheard elsewhere in Thailand.17 One of the most popular musical instruments of the Northeastern region is the “Khaen”, a bamboo wind instrument. It is the oldest instrument that can play melody and harmony simultaneously, predating the “panpipe” 15 Assoc. Prof. Dr. Sumrongthong, Bussakorn, รายงานวิจัยฉบับสมบูรณ์ โครงการพิธีกรรมและความเชื่อที่เกี่ยวข้องกับการสืบทอดดนตรล้านนา (The Rites and Beliefs Associated with the Transmission of Musical Culture in Thailand’s Lanna Region) (Ph.D. Dissertation, Thailand Research Fund, 2009), 34. 16 Ibid, p.46. 17 Asist. Prof. Sodsuchat, Bunlerd, ภูมนิทัศน์ไทย (Thai Cultural Landscape): Cultural Landscape of the Northern Region of Thailand (Bangkok, Thailand: Darnsutakarnpim Inc., 1996), 2. 6 and modern pipe organ. The Khaen has existed for over three thousand years and is found throughout Asia. Figure 4: Khaen18 One distinctive Northeastern instrument is the “Wot,” a circular panpipe carved from bamboo. It was originally used as a toy, but it was later acknowledged as a bona fide musical instrument. It is believed that the Wot is over a thousand years old. Having no reed, it is played in the same manner as a flute. Historically, the Wot was played for farmers working in the field and was notably thrown as a projectile in sports competitions (like an axe). In modern times, the Wot is used as an instrument in religious ceremonies helping worshippers to connect with the spirit.19 18 Mary Gallagher, “Khaen,” http://www.bentoncountymuseum.org (2008), accessed 20 January 2012. 19 Province of Roiet, “The Instrument of Roiet,” http://www.roiet.go.th/101/index.php/2010-10-14-02-23-31/2010-10- 14-04-20-11 (2011), accessed 17 January 2012. 7 Figure 5: Wot20 Another instrument of the Northeastern region is the Ponglang, similar to the xylophone, and found in many countries throughout Asia. Although the Ponglang is primarily a solo instrument, it is frequently found in Molam or Ponglang ensembles. Ponglang has five pitches, spanning the ubiquitous pentatonic scale (C-D-E-G-A) and was historically used to sound warnings to village populations.21 As Ponglang has a very resonant sound, it was played in the evening to help the hunters find their way home.22 20 Isaan club Chulalongkorn University, “Wot,” http://www.isan.clubs.chula.ac.th (2012), accessed 20 January 2012. 21 Kotkanta, Montree, “Ponglang,” http://www.isangate.com/entertain/ponglang_01.html (2011), accessed 17 January 2012. 22 Ibid. 8 Figure 6: Ponglang23 The central region of Thailand is an administration center and a center of culture since 557. Foreign nations visited Thailand to explore trade opportunities. While trade was initially with neighboring countries such as China, it expanded to include France, Portuguese, Holland, and the United States of America.24 23 Office of Academic Resources and Information Technology, “Ponglang,” http://dusithost.dusit.ac.th/~u52116940031/thaimusic (2009), accessed 20 January 2012. 24 Tourism Authority of Thailand, “Geography,” http://thai.tourismthailand.org/about-thailand/geography/ (2011), accessed 17 January 2012. 9
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